Showing 111 - 120 of 494 annotations tagged with the keyword "Women's Health"

Summary:

This outstanding anthology of poems, stories, excerpts and essays by African-American writers is prefaced by a poem ("Aunt Sue’s Stories" by Langston Hughes), a foreword, two essays and an introduction. The book is then divided into three sections: Section I, Illness and Health-Seeking Behavior; Section II, Aging; and Section III, Loss and Grief.

Each section begins with an introduction which clarifies the choice of the section’s theme and briefly describes each piece. At the conclusion of each section is a list of ten to fifteen questions which "are intended for personal reflection and group discussion." Brief autobiographical information for each of the thirty-one authors is presented in Appendix 1.

As Secundy notes in the introduction, a divide exists between the health care worker and patient, which is particularly prominent when color and economic status are different between them. Secundy, as an educator in the medical humanities, selected pieces that reveal "the significance of color and social distinctions" when African-Americans face illness or enter the health care system.

The selections chronicle struggle and survival, illness and loss, humiliation and pride, triumph and sorrow. These pieces speak to all of us, as Edmund Pellegrino states in his essay, "Ethnicity and Healing": "[p]aradoxically, as we learn more about the uniqueness of African-American culture, we are drawn closer to the common humanity we share with the subjects of these stories and poems."

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Annotated by:
Willms, Janice

Primary Category: Literature / Nonfiction

Genre: Memoir

Summary:

Written by a Jungian psychoanalyst about her own experience with metastatic breast cancer, this memoir is a two year chronicle extending from the day of diagnosis through sequential remissions and relapse, to the remission following stem cell transplant. In the course of this voyage, the author deals with her own fear and anger, the range of responses elicited from family and friends, and her anxiety about the technology and impersonality of the health care system.

The book ends, but Middlebrook's story does not. She is feeling well as she recovers from her transplant. She knows she still has a lethal tumor. The only thing she doesn't know is when it will claim her life.

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Annotated by:
Schilling, Carol

Primary Category: Literature / Nonfiction

Genre: Memoir

Summary:

In Dirty Details, Marion Deutsche Cohen writes about the unrelenting labor entailed in caring for her husband Jeffrey at home as multiple sclerosis turns his symptoms from "mere inconveniences" (11) to extraordinary demands, which can disturb her sleep as frequently as twenty times a night.  The premise of her unsparing narrative is that "we have got to spill the dirty details" (26) of such arrangements before the endurance-draining responsibilities of home care such as hers can be understood and redressed.  In a culture that favors narratives of seemingly heroic individual effort, Cohen's brutally forthright descriptions of the effects of Jeff's needs on her life can be mistaken for a self-pitying complaint, rather than an urgent, revelatory, political call to action.  Like her husband, a well-published physicist at the University of Pennsylvania when diagnosed with MS at age 36 in 1977, Cohen is an accomplished professional.  With a PhD in mathematics, Cohen teaches college students as well as publishes poetry and prose.  She and her husband also shared, with increasing asymmetry, the parenting of their four children.                 

Cohen captures the wearying routine of her days in her narrative's echoing refrain, "nights, lifting, and toilet."   The nights refer to Cohen's dangerously disrupted sleep.  Her husband's respirator can sound every half hour or so, inciting her to worry "about the psychological effects of seldom being allowed to finish my dreams" (23).  (When she asks if the machine can be fixed, she's told that it's supposed to behave that way.  By implication, so is she, despite the toll on her well-being.)  Yet she daily rallies the strength to lift her husband on and off the toilet, a feat, among others, that sometimes defied the powers of several hospital nurses working together.   Toilet also means responding to Jeffrey's regular calls to her to drop what she's doing, run upstairs, and bring him a jar.  The jar at least relieves her from lifting.  She experiences only intermittent relief, however, from finding and keeping home health aides who are able to show up reliably and behave civilly during the few hours per day they can be funded.  What results from these tests of human stamina, Cohen tells us, is not "ordinary stress" that some optimistically believe can be managed by taking stress reduction workshops, but rather "dire straits."  "Calling dire straits stress," she corrects, "undermines well spouses and makes us feel alienated and confused about where we stand" (32). 

It's that standing in the broadest sense of the word that Cohen's book most searingly addresses.  While Dirty Details contains one woman's account of caring for a disabled husband at home, the book's wider purpose is to make the labor of family caregivers visible with all its strains, conflicts, messiness, failures, anger, and, at times, humor.   As the straights become increasingly dire, though, Cohen writes about what happens to love as she moves from sustaining tenderness, candor, and their physical intimacy to diminishing her compassion for Jeff and saving herself:  a "pure survival instinct" (87).   After sixteen years in his family's care, Jeff at first reluctantly enters Inglis House, a residence that provides as much independence as possible for those who cannot live independently, where he continues to write and publish.  Cohen's professional life, social life, and beloved parenting once again flourish.  The story she is freed to write (illustrated with photographs by Anna Moon taken with Jeff's consent) lead readers away from her particular circumstances toward a comprehensive interrogation of social and medical systems that operate by leaving the most chronically ill and disabled citizens in their families' care by default.   And leave the families in dire straits.

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The Blackout Sonnets

Larkin, Joan

Last Updated: Nov-19-2009
Annotated by:
Davis, Cortney

Primary Category: Literature / Poetry

Genre: Poems (Sequence)

Summary:

This sonnet sequence, found in part III of the poetry collection, A Long Sound, opens with the narrator preparing to date her music teacher's son, a man she has had a crush on since age twelve. Now she is eighteen, "damaged goods" according to her mother, and about to embark on a date.

In the second sonnet, the narrator's date begins to ply her with alcohol, and by the third sonnet, she numbly acquiesces to his advances. Drunk and in a blackout by the fourth sonnet, she re-lives the emotional and physical pain of her recent abortion, an event her whole family "was in on."

In the fifth sonnet, she wakes in her date's immaculate Buick as he drives her home and asks imperiously if she "does this sort of thing often." The sixth sonnet is both touching and horrifying-she recalls that, in spite of the man's disdain, she was so hungry for love that she wished he would kiss her good night.

Returned to the house she "hated," she mourns the "sore night" of the abortion, a memory she cannot erase with alcohol and sex. In the final sonnet, the narrator--chided, belittled, and abused by both her mother and her date--experiences a moment of awful clarity. This is the beginning of her recovery, a revelation recognized in retrospect.

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Summary:

Written by a psychiatrist and historian, American Melancholy: Constructions of Depression in the Twentieth Century looks at how culture, politics and, in particular, gender have played a role in the development of a diagnosis.  Hirshbein moves between several different worlds, showing how they intercalate and, indeed, are very much part of the same world: psychiatric nosology and cultural attitudes to the gendered expression of emotion and feelings, medication trials and magazine advice to women about how they should deal with the blues, the relations between treatment paradigms and how society views suffering.

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The Girl With a Baby

Olsen, Sylvia

Last Updated: Aug-26-2009
Annotated by:
McEntyre, Marilyn

Primary Category: Literature / Fiction

Genre: Novel for Young Adults

Summary:

At fourteen, after marginally consensual sex with a boyfriend, Jane has a baby.  She managed to keep her pregnancy a well-camouflaged secret until late in the process; both family and friends are still reeling from her late-breaking news.  Her mother has died; her grandmother has moved from the tribal reservation to live with Jane, her father (a white Canadian), and Jane's two brothers.  Though the school she attends has daycare for students' babies, Jane finds little emotional support, even among former friends, until a new girl, Dawna, takes an active, unpretentious interest in both Jane and the baby.

With Dawna's and her grandmother's help Jane decides to make the rather complicated arrangements required to allow her to audition for the school play and pursue a longstanding dream of singing and dancing on stage.  She meets with fierce and aggressive competition from a much more privileged girl who does her best to discredit Jane's efforts on account of her unfitness as both a Native American who doesn't look the part, and as an unwed mother who, as one faculty member puts it, shouldn't "parade herself" in public.  Nevertheless, Jane's skill and determination and soul-searching pay off; despite the steep learning curve required to care for a baby and the psychological cost of teen motherhood, she succeeds in making the accommodations and compromises necessary to retrieve old dreams on new terms.

            

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Annotated by:
Duffin, Jacalyn

Primary Category: Literature / Fiction

Genre: Novel

Summary:

In the 1527 sack of Rome, undiscplined troops of the Holy Roman Emperor rape, pillage, and destroy. The beautiful couresan Fiammetta Bianchini opens her house to the marauders, inviting them inside for food and comfort. The act gives her household a moment’s reprieve. Her golden tresses savagely shorn, she swallows her jewels and escapes north to her native Venice in the company of her servant and companion, the dwarf, Bucino Teodoldi.

Arriving with almost nothing, they set about establishing a reputation and securing backers. The small company is helped by Fiammetta’s friend and admirer the satirist and poet, Pietro Aretino. Her portrait is painted by his friend, Titian.

Clever and loyal to a fault, Bucino frets over finances and willingly engages in subterfuges that mesmerize their audiences. Fiammetta accepts the attentions of tedious but wealthy admirers in exchange for a house and status. She comes to rely on a blind woman healer, called La Draga who supplies medicine and cosmetics. Bucino is suspicious and jealous, but he tolerates the competition grudingly. He too has many ailments, including headaches and arthritis, because of his deformity.

Suspense swirls around a banned book, a Jewish shopkeeper, and La Draga’s mysterious origins in the glass-making town of Murano.

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Mr. Pip

Jones, Lloyd

Last Updated: Jul-05-2009
Annotated by:
Duffin, Jacalyn

Primary Category: Literature / Fiction

Genre: Novel

Summary:

Thirteen-year-old Matilda lives on a south Pacific island with copper mines. Rebels and other more official warriors are tearing the place apart. A blockade has made resources scarce and communication impossible; fathers are absent at distant work. Along with everything else, the local school collapses. 

Mr. Watts, the only island white man, offers to take over the education of the children, but he has no experience, few materials and just one book: his treasured copy of Charles Dickens’s Great Expectations. He begins reading a few pages every day. Captivated by the story, the children repeat it to their mothers when they go home each night.  

Matilda believes that she loves Mr. Dickens more than anyone else and she is both bemused and irritated by her stern mother's suspicion of the strange, possibly godless, white man and her feigned disinterest in Pip. Parents are invited to the school to pass on their own expectations about learning. Students accept these moments with pride and embarrassment.

The political chaos deepens, homes are destroyed, and the book vanishes. But Watts (nicknamed Mr. Pip) turns the loss to advantage by helping the students to recover fragments in a lengthy effort of collective recollection.

The ever menacing warriors return. Little more than frightened children in an incomprehensible conflict, they indulge in senseless brutality and killing. With courage absorbed from her mother, Matilda escapes, rediscovers her father, and finds a scholarly future—a life she embraces because of Mr. Dickens and Mr. Pip.

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The Abandoned Doll

Valadon, Suzanne

Last Updated: May-19-2009
Annotated by:
Nixon, Lois LaCivita

Primary Category: Visual Arts / Painting/Drawing

Genre: Oil on canvas

Summary:

In this and other works, French artist Suzanne Valadon steps outside the boundaries established for women artists in the male-dominated world of art. Portrayal of the gazed-upon female nude was reserved for men who conventionally painted them as objects: ageless, beautiful, seductive, passive, and vulnerable. Women painted flowers and children, not nudes.

Not only does Valadon violate traditional expectations, she presents an adolescent nude who, like most adolescents, is self-absorbed with her appearance. She is not positioned for the viewer's gaze, but for her own self-appraisal. The pubescent child/woman sits at the edge of the bed intent upon her own image in a handheld mirror. In contrast, a fully clothed woman, probably her mother, sits behind her on the bed gently towel-drying the girl's shoulder and arm.

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Summary:

In the Introduction the editors describe the "day of reckoning" they each experienced at one point--the sudden realization that they were "fat." Prior to this insight, they had identified fatness with negative characteristics, like being funny or undesirable; the breakthrough came when they were able to experience fatness as simply factual and not value-laden. This freed them to enjoy their lives without looking over their shoulders, so to speak, to see how other people reacted to them. Their liberating insight led to this anthology, which consists of "works of notable literary merit...that illustrate the range of ’fat’ experience." (p. xiii)

A number of the stories and poems in Who Are You Looking At? have individual entries elsewhere in this database. These include: Andre Dubus, The Fat Girl; Stephen Dunn, Power; Jack Coulehan, The Six Hundred Pound Man; J. L. Haddaway, When Fat Girls Dream; Patricia Goedicke, Weight Bearing; Rawdon Toimlinson, Fat People at the Amusement Park; Monica Wood, Disappearing; and Raymond Carver, Fat (annotated by Carol Donley and also by Felice Aull and Irene Chen).

One of the outstanding pieces in the anthology is a long story by Junot Diaz entitled "The Brief Wondrous Life of Oscar Wao" (42 pages). Oscar is a Dominican boy who is both fat and a nerd. He is obsessed with girls, but none will have anything to do with him, until he meets Ana who becomes his (platonic) "best friend" until her boyfriend Manny returns from the Army.

As narrated by Oscar’s sister’s boyfriend, things go from bad to worse until Oscar spends a summer in Santo Domingo and meets Yvon, an older woman whose former boyfriend, the Captain, is a cop. When Oscar pursues Yvon, he first gets beat up and later the Captain kills him, but before the end he actually makes love to Yvon. In his last letter to his sister, Oscar writes, "So this is what everybody’s always talking about! Diablo! If only I’d known. The beauty! The beauty!"

Editor's note (4/14/09): The Brief Wondrous Life of Oscar Wao was published as a full-length book in 2007 and won the Pulitzer Prize.

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